Excellently written and excellently performed. Creation is a "collective" process in which numerous artisans participate, they all create - a "wave of genius" - and we later forget all those "others" and attribute everything to only "one" man. JS Bach was not produced by God's talent, it was produced by the work and expertise of similar composers: J. Pahelbel, J. Kuhnau, J. Walther, J. Pisendel, S. L. Weiss, J. Fasch , J. Reincken, D. Buktehude, N. Bruhns, G. Bohm, N. Strungk, J. Froberger, J. von Kerl, J. Fischer, J. Fuchs, A. Corelli, G. Le Grenzi, G. Bassani, G. Torelli, A. Marcello, A. Albinoni, Vivaldi, B. Marcello, N. Porpora, P. Locatelli, F. Durante, G. Ristori, G. Pergolesi, A. Caldara , A. Raison, F. Dieupart, F. Couperin, L. Marchand, N. de Grigni, Persl, J. D. Zelenka, J. Matheson, Telemann, Kaiser,..., Handl. Mozart was not produced by God's talent, it was produced by the work and expertise of similar composers: André Grétri, Paisiello, Johan Bah, Galupi, Misliveček, padre Martini, Bokerini, Vicente Martín y Soler, Thomas Arne, Jameli, Traetta, Anfossi, Pichini, Andrea Luchesi, Sarti, Gazzaniga, Stamic, Dusek, Benda, Koželuh, Anton Fils, Emanuel Bach, Ditersdorf, Salieri, Vanhal, Mihael Haydn, Josef Haydn, Saint-Georges, Schobert, Schuster, Pleyel, Gosek i &.
Not a plausible theory of creativity, although it is plausible that many other artists are largely forgottten when the world focuses on just a few of the major artists in a given era or discipline.
It's an interesting theory, with which I only partiallly agree. The part I agree with is that there are "waves of genius" wherein more than one composer, inventor, designer, fine artist, whatever receive or tune into the same creative source. They each bring forth their own interpretation or version of the heretofore undiscovered principle of whichever discipline or art form they are practicing. So, you have as we have seen over and over, incidences of inventors working on the same problems independently and virtually simultaneously inventing light bulbs, telephones, airplanes, etc. Thanks for introducing me to this term, I had not heard of it. @@loredanamassini9484
The music is very good, although not top drawer-certainly worth hearing. Thank you for posting this!The performances are lovely, except for the hideously out-of tune woodwind trills. When will the “early-music movement” grow up and substitute more modern woodwinds for their “authentic” counterparts?
Thanks for the listening and your valuable comments! Curiously enough, in which particular Fasch composition you have noticed "out-of tune woodwind trills" ? Best regards from RD-A415.
Some of us like the authenticity and we enjoy hideously out of tune trills 😆 I hope you have a reason for being so snotty in your way of looking at things and especially in how you've chosen to comment. Everyone isn't you. Perhaps something is wrong with your thinking that you would express yourself this way - I'm laughing so hard at your comment lol 😂 In trying to show how others are gauche, lacking or whatever, you certainly have come across as extremely gauche in your snobbery. But as I said perhaps there's a reason for it. But what do I know? I'm just one of those ignorant, half-tone deaf, peasant-level, "movement" members and plebes, who loves and thrives on the authenticity of this wonderful music 😂 And I am very grateful for this content provider placing it here for my profound enjoyment!😊
And by the way, there are many in early music appreciation and performance, as well as those who research, who do you use modern woodwinds. They even go to the trouble to make sure the resonance and tone retains some 'authenticity' in the modern instruments. Perhaps they could hire you as an expert and esteemed advisor 😂
@@iahelcathartesaura3887You are way out of line, especially seeing that my own performing career has encompassed performances on modern, old, and intermediate flutes and recorders; and I have published books and articles on performance. All this is a matter of public record. And so I will not answer you as you deserve. It would do no good, anyway. God save us from zealots! And from fools!
@@RecordareDomineA415 4:02; 5:03 (especially), to name just two examples of out-of-tune trills. We ought to distinguish between those attributes of historic instruments that reflect the aesthetic desiderata of the music, and those that represent cultural lag, in which the woodwind technology of the day was not up to the requirements placed upon it by the music itself. Is this really so hard to understand? THINK! And listen.
Anch'io,quando ero attivo a Roma avevo nel repertorio di musica da camera per quartetto due sue composizioni. Ma ora ho constatato che aveva composto anche per orchestra barocca.
@@ŁykaczŚliny słucham tylko muzyki klasycznej i w ten sposób tutaj trafiłem. Polecam wszystkie utwory w wykonaniu Hilary Hahn, to jedna z najlepszych współczesnych skrzypaczek i piękna kobieta.
@@luizfernandolessa1889 é nesse percurso que as formas e processos composicionais são organizados até eclodir no período clássico e na profundidade sinfônica com Beethoven.
@@marcosPRATA918 Sim, intercalando com a sabedoria e propósito de Haydn e a força criativa de Mozart; um sucesso de período. Pena que muitos gênios desse período não sejam valorizados: Fasch, Telemann, Buxtehude e outros.
